Re-presenting the very landscape and space you pass by every day by framing them through a lens, reveals the tranquillity, hidden behind frozen time and space. The tranquil nature existing within frozen time and space enlivens an emotion attached to it; dynamism once existed in architecture by housing human activities is transformed into tranquillity, yet, it invigoratingly blooms the flower called emotion. This animated emotion creates dynamism within tranquillity. Photo taker’s intention, either to document the architecture/space or emotion attached to architecture/space is dissociated by the viewers, and each and every viewer re-associates frozen time and space they see with their own collective memory. This whole process generates dynamism; the dichotomy between photo-takers and viewers embodies tranquil dynamism by an interaction.

The intention of the exhibition ‘Tranquil Dynamism,’ is to bestow an additional layer onto, already-known, dichotomy between the occidental and oriental, or Europe and Korea; photo takers and viewers. By introducing the imagery in which seemed to be familiar for one party to the other whom they have the different perception based on geographical and cultural upbringing, I would like the parties to exploit the differences between the two by oscillating intention and translation. Specifically with this exhibition, the two parties are the ones who live in Jeonju and who do not, and the other pair would be European photographer and Korean viewers.